Manuel Velazquez El Clasico Special Classical Guitar (1963)
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Item #13051
Manuel Velazquez El Clasico Special Model Classical Guitar (1963), made in New York City, serial # F-46, natural lacquer finish, Brazilian rosewood back and sides, Bavarian spruce top, Spanish cedar neck with ebony fingerboard, original black hard shell case.
This splendid classical guitar marks an interesting chapter in the career of one of the 20th century New York's most renowned luthiers, Manuel Velazquez. It was made in 1963, labeled "M. Velazquez Guitars, Inc., El Clasico Special". The label features a signature and the date, "1963" written by hand in blue ink but not by Velazquez himself. While not a completely handmade Velazquez instrument, this guitar carries much of his quality, style and tradition.
Manuel Velazquez was born February 1917, in Manati, Puerto Rico, as an adolescent working in his older brother's furniture shop. He completed his first guitar at age 16. In 1940 he moved to New York, working as a cabinet maker, joiner and carpenter in the Brooklyn Navy Yard.
In 1948, Manuel established his first NYC workshop at 420 Third Avenue. Through the 1950s, he maintained the tradition of European classical guitar making in the United States producing over a thousand purely handmade instruments. Vladimir Bobri, Rey de la Torre, Saul Marantz, The Haines Bros., Alexander Bellows, Noah Wolfe and more would come recommend him as one the world's finest guitar makers. Velazquez guitars have long been highly regarded for their unmatched elegance, tone quality, sustain and playability achieved with critical selection and calibration of materials in the tradition of Torres, Hauser, and Santos Hernandez.
By 1960, Velazquez went into in business with a group of investors including the Valdes-Blain brothers aiming to scale up his one man operation into a "workshop" similar to the Ramirez model. Bringing on a small staff of fledgling luthiers under his guidance, "M. Velazquez Guitars, Inc." was established at 205 East 23rd Street, allowing a greater level of production than one luthier could possibly achieve. An article in the August 25th, 1962 issue of Puerto Rico's El Mundo Newspaper lists Velazquez' four assistants as "Victor Pineiro of Humacao; Rafael Rivera of Ciales; Miguel Vissepo of Mayaguez; and Fermin Diaz of Vega Baja." In an era of burgeoning interest in the guitar, these "Shop" guitars would make Velazquez' designs and quality available at a lower price, featuring wood hand selected by Velazquez and tops tuned by the master himself. Three models were available: El Maestro ($185), El Flamenco ($250) and this top-line El Clasico ($350) while a guitar handmade by the master himself cost $700.
In 1961 "Manuel Velazquez Guitars, Inc." took out a two-page ad in Guitar Review magazine stating: "Until recently, Sr. Velazquez produced fewer than 20 guitars per year, and at a price which put them out of reach of almost everyone except top professionals. But now, thanks to slightly expanded facilities, Velazquez guitars will be available in greater quantity and at a cost well within reach of all who love fine guitars. This dramatic price reduction has been achieved without sacrifice of Velazquez quality. The materials are the same as ever, personally selected for each guitar by Sr. Velazquez himself. Each top--the soul of the instrument--continues to be selected, made and hand-calibrated by Sr. Velazquez. The only difference is that now, Sr. Velazquez has help in constructing, assembling, and finishing the rest of the instrument. The work is done by skilled craftsmen apprenticed to and trained by Velazquez--and it remains under his continual personal supervision. In addition, every instrument is tested for feel, action, and tonal quality by Rolando or Albert Valdes-Blain, well-known concert guitarists and it must meet their professional standards before leaving the workshop."
Disagreements with the company's management and direction under the Brothers Valdes-Blain caused Manuel to quit the operation and return to Puerto Rico in 1963. This beautiful "M. Velazquez Inc". Concert guitar appears to have been completed shortly after his departure and continues the Hauser influence embodied in Velazquez' handmade instruments. The tight grain Bavarian spruce top is paired with beautifully figured Brazilian rosewood back and sides, with all wood bindings and trim. The Spanish cedar neck has a typical "D" profile and is very comfortable to play. A major break from Velazquez tradition is the neck joint is built with a headblock and dove tail rather than the traditional Spanish "slipper foot". This allowed complete bodies and necks to be built separately in the assembly process. The rosewood-faced headstock features a three lobed crest Velazquez used in the early 1950s inspired by Domingo Esteso. It is outfitted with Reischl "fishscale" Landstorfers replicas with pearloid buttons.
Overall, this is a well worn instrument but with very little repair, a stellar example of the vision only briefly espoused by the expanded Velazquez workshop. The sound is woody and rich with considerable volume and clarity, with an incredible natural reverb and trebles reminiscent of Velazquez' handmade instruments. A wonderful instrument to play, hear or appreciate, it also stands as an important piece of guitar history, particularly as related to the traditions of both Puerto Rico and New York.
Overall length is 38 1/2 in. (97.8 cm.), 14 1/2 in. (36.8 cm.) wide at lower bout, and 3 13/16 in. (9.7 cm.) in depth at side, taken at the end block. Scale length is 25 11/16 in. (652 mm.). Width of nut is 2 in. (51 mm.).
This very fine sounding guitar shows evidence of some serious use but remains a superb instrument to play with no major damage or repair. The all original finish shows moderately heavy checking, dings and dents overall with some heavy fingernail wear into the wood to the expected area of the top below the strings, and to the front edge of the top. There are numerous visible dings and marks on the top, mostly concentrated near the treble side of the lower bout. There is some chipping in the finish behind the bridge from string changes, with a notable ding just south of the G string. The bridge features wear at the tie block from string changes over the course of its life.
The finish on the back of the neck is worn through from the nut to the 7th fret, as well as on the sides of the neck, with visible finger marks worn into the finish near both sides of the fingerboard at the 10th fret. Someone put time in on this guitar! The finish on the back and sides shows heavy weather checking, indicating this instrument was finished in lacquer as opposed to the varnish and French polishes Velazquez himself preferred. There are some small dings on the back of the headstock and a chip in the face of the headstock channel near the A string tuner post.
There is one small cleated grain crack repair to the top running along the bass side of the fingerboard to the soundhole; no other cracks are evident. The guitar remains original except for a set of Reischl tuners, high quality replacements for the original Landsdorfer machines. Although not absolutely made by his hands this guitar lovely sounding instrument carries the Velazquez character and is a fine instrument in its own right. It comes in the original HSC, worn but serviceable. Overall Very Good + Condition.
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This splendid classical guitar marks an interesting chapter in the career of one of the 20th century New York's most renowned luthiers, Manuel Velazquez. It was made in 1963, labeled "M. Velazquez Guitars, Inc., El Clasico Special". The label features a signature and the date, "1963" written by hand in blue ink but not by Velazquez himself. While not a completely handmade Velazquez instrument, this guitar carries much of his quality, style and tradition.
Manuel Velazquez was born February 1917, in Manati, Puerto Rico, as an adolescent working in his older brother's furniture shop. He completed his first guitar at age 16. In 1940 he moved to New York, working as a cabinet maker, joiner and carpenter in the Brooklyn Navy Yard.
In 1948, Manuel established his first NYC workshop at 420 Third Avenue. Through the 1950s, he maintained the tradition of European classical guitar making in the United States producing over a thousand purely handmade instruments. Vladimir Bobri, Rey de la Torre, Saul Marantz, The Haines Bros., Alexander Bellows, Noah Wolfe and more would come recommend him as one the world's finest guitar makers. Velazquez guitars have long been highly regarded for their unmatched elegance, tone quality, sustain and playability achieved with critical selection and calibration of materials in the tradition of Torres, Hauser, and Santos Hernandez.
By 1960, Velazquez went into in business with a group of investors including the Valdes-Blain brothers aiming to scale up his one man operation into a "workshop" similar to the Ramirez model. Bringing on a small staff of fledgling luthiers under his guidance, "M. Velazquez Guitars, Inc." was established at 205 East 23rd Street, allowing a greater level of production than one luthier could possibly achieve. An article in the August 25th, 1962 issue of Puerto Rico's El Mundo Newspaper lists Velazquez' four assistants as "Victor Pineiro of Humacao; Rafael Rivera of Ciales; Miguel Vissepo of Mayaguez; and Fermin Diaz of Vega Baja." In an era of burgeoning interest in the guitar, these "Shop" guitars would make Velazquez' designs and quality available at a lower price, featuring wood hand selected by Velazquez and tops tuned by the master himself. Three models were available: El Maestro ($185), El Flamenco ($250) and this top-line El Clasico ($350) while a guitar handmade by the master himself cost $700.
In 1961 "Manuel Velazquez Guitars, Inc." took out a two-page ad in Guitar Review magazine stating: "Until recently, Sr. Velazquez produced fewer than 20 guitars per year, and at a price which put them out of reach of almost everyone except top professionals. But now, thanks to slightly expanded facilities, Velazquez guitars will be available in greater quantity and at a cost well within reach of all who love fine guitars. This dramatic price reduction has been achieved without sacrifice of Velazquez quality. The materials are the same as ever, personally selected for each guitar by Sr. Velazquez himself. Each top--the soul of the instrument--continues to be selected, made and hand-calibrated by Sr. Velazquez. The only difference is that now, Sr. Velazquez has help in constructing, assembling, and finishing the rest of the instrument. The work is done by skilled craftsmen apprenticed to and trained by Velazquez--and it remains under his continual personal supervision. In addition, every instrument is tested for feel, action, and tonal quality by Rolando or Albert Valdes-Blain, well-known concert guitarists and it must meet their professional standards before leaving the workshop."
Disagreements with the company's management and direction under the Brothers Valdes-Blain caused Manuel to quit the operation and return to Puerto Rico in 1963. This beautiful "M. Velazquez Inc". Concert guitar appears to have been completed shortly after his departure and continues the Hauser influence embodied in Velazquez' handmade instruments. The tight grain Bavarian spruce top is paired with beautifully figured Brazilian rosewood back and sides, with all wood bindings and trim. The Spanish cedar neck has a typical "D" profile and is very comfortable to play. A major break from Velazquez tradition is the neck joint is built with a headblock and dove tail rather than the traditional Spanish "slipper foot". This allowed complete bodies and necks to be built separately in the assembly process. The rosewood-faced headstock features a three lobed crest Velazquez used in the early 1950s inspired by Domingo Esteso. It is outfitted with Reischl "fishscale" Landstorfers replicas with pearloid buttons.
Overall, this is a well worn instrument but with very little repair, a stellar example of the vision only briefly espoused by the expanded Velazquez workshop. The sound is woody and rich with considerable volume and clarity, with an incredible natural reverb and trebles reminiscent of Velazquez' handmade instruments. A wonderful instrument to play, hear or appreciate, it also stands as an important piece of guitar history, particularly as related to the traditions of both Puerto Rico and New York.
Overall length is 38 1/2 in. (97.8 cm.), 14 1/2 in. (36.8 cm.) wide at lower bout, and 3 13/16 in. (9.7 cm.) in depth at side, taken at the end block. Scale length is 25 11/16 in. (652 mm.). Width of nut is 2 in. (51 mm.).
This very fine sounding guitar shows evidence of some serious use but remains a superb instrument to play with no major damage or repair. The all original finish shows moderately heavy checking, dings and dents overall with some heavy fingernail wear into the wood to the expected area of the top below the strings, and to the front edge of the top. There are numerous visible dings and marks on the top, mostly concentrated near the treble side of the lower bout. There is some chipping in the finish behind the bridge from string changes, with a notable ding just south of the G string. The bridge features wear at the tie block from string changes over the course of its life.
The finish on the back of the neck is worn through from the nut to the 7th fret, as well as on the sides of the neck, with visible finger marks worn into the finish near both sides of the fingerboard at the 10th fret. Someone put time in on this guitar! The finish on the back and sides shows heavy weather checking, indicating this instrument was finished in lacquer as opposed to the varnish and French polishes Velazquez himself preferred. There are some small dings on the back of the headstock and a chip in the face of the headstock channel near the A string tuner post.
There is one small cleated grain crack repair to the top running along the bass side of the fingerboard to the soundhole; no other cracks are evident. The guitar remains original except for a set of Reischl tuners, high quality replacements for the original Landsdorfer machines. Although not absolutely made by his hands this guitar lovely sounding instrument carries the Velazquez character and is a fine instrument in its own right. It comes in the original HSC, worn but serviceable. Overall Very Good + Condition.
